West Asian Abstract Sculptures

Soma Series includes lights sculptures, crafted by applying a self-webbing membrane over a unique structure made of thin glass rods in the traditional lampwork technique. As inspirat...

This collection celebrates the seamless blend of Anatolian culture and art. Just as Anatolia's sociological tapestry weaves together a rich array of colors and layers, it is a testam...

Egor Plotnikov works at the area of figurative painting and sculpture. Paintings and sculpture objects are presented often as combined installations. Plotnikov researchs the theme of...

Yulia Batyrova started working with ceramics five years ago. From the very beginning, she was keen on experimenting with form, materials and graphics in search of her own style. Sinc...

Yulia Batyrova started working with ceramics five years ago. From the very beginning, she was keen on experimenting with form, materials and graphics in search of her own style. Sinc...

Yulia Batyrova started working with ceramics five years ago. From the very beginning, she was keen on experimenting with form, materials and graphics in search of her own style. Sinc...

Yulia Batyrova started working with ceramics five years ago. From the very beginning, she was keen on experimenting with form, materials and graphics in search of her own style. Sinc...

South Arabian Alabaster Inscription Calcite Alabaster circa 1st century A.D. ‘’Consequently, neither white marble of Paros nor any other stone which men admire can be compared with the precious stones of Arabia, since their whiteness is most brilliant, their weight the heaviest, and their smoothness leaves no room for other stones to surpass them.’’ - Diodorus Siculus, Library of History, Book II, 52.9 This inscription, finely worked on an alabaster tablet, is a remarkably well preserved example of Ancient South Arabian script, with its distinct bold, angular forms, written in the Qatabanic dialect - that is, the dialect spoken by the people of the kingdom of Qataban, which ruled much of modern day Yemen from the 7th Century B.C. to the 2nd Century A.D. The text, which reads: ‘[... ...]sa?d and Ma?add?i- / (of the lineage) of Hawfa- / She entrusted Anb- / against any malfeasance (which would remove it) from its place’ - indicates that it likely served to commemorate a temple offering. The quality of the script, incised so neatly into the surface of the alabaster, tells us that this piece was commissioned by somebody of considerable wealth and prestige, employing a scribe of equally considerable expertise. South Arabia was known throughout the ancient world for its incredible wealth - so much so that the Romans termed the region ‘Arabia Felix’ - literally, ‘Happy, or Fortunate, Arabia.’ That wealth was built largely on the trade of spices and incense, in which the Kingdom of Qataban played a major part. According to Pliny the Elder, this was the sole country through which frankincense could be exported, first being collected in the city of Shabwa, on the South Arabian coast, and from there travelling by camel up to Gaza, to be shipped all across the Mediterranean - not only that, but all growers of myrrh across Arabia were required to give a quarter of their yield to the king of the Qatabanians. As such, the kingdom became exceedingly rich and powerful, and Pliny goes on to tell us that ‘The nations of the Larendani and the Catabani, and the Gebanitæ [...] occupy a great number of towns, the largest of which are Nagia, and Thomna (the capital of Qataban) with sixty-five temples, a number which fully bespeaks its size.’ Because of the nature of its exports, frankincense in particular - the ‘sweat of of the gods’ according to the Egyptian Book of the Dead, and perhaps most famous as one of the three gifts brought to the newborn Christ - being closely associated with the divine, South Arabia’s reputation in antiquity was as a mysterious, almost sacred, and - crucially - extraordinarily wealthy region, at the very edge of the known world; in the words of Herodotus: ‘’Enough of marvels, and yet the land of Arabia gives off a scent as sweet as if divine.’’ This inscription invokes the protection of god Anbay, the judge-oracle of the chief god ‘Amm, who he served as an attendant. Much of what we know of the religious life of the ancient South Arabians comes to us from early Islamic texts, describing what is known in Islamic scholarship as ‘Jahiliyyah’ - the age before the advent of Islam in Arabia. What comes across in much of these texts is that these religious practices placed a great deal of emphasis on sacred stones, perhaps linked to the brilliance of the alabaster which is local to the region, and which a great many of the cult-objects produced in this time are made from. Hisham ibn-Al-Kalbi’s Book of Idols records: ‘’The Arabs were passionately fond of worshipping idols [...] Whenever a traveller stopped at a place or station in order to rest or spend the night, he would select for himself four stones, pick out the finest among them and adopt it as his god, and use the remaining three as supports for his cooking-pot.’’ This inscription was once in the collection of the intrepid British-Australian travel...

Each of the KHO stones symbolizes the current periods of our lives. The gaps on it are defined as breathing spaces. These forms, which can also be called soul stones...

Large colorful abstract lucite sculpture by Israeli artist, Shlomi Haziza, circa early 1990s. The piece is in good vintage condition with no chips, cracks; there is some minor crazin...

Valery Pchelin’s distinct approach to sculpture has been shaped by his early experience as a carpenter: different pieces of wood are assembled to construct intriguing artworks full o...

Valery Pchelin’s distinct approach to sculpture has been shaped by his early experience as a carpenter: different pieces of wood are assembled to construct intriguing artworks full o...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

Large, hand forged, iron Hanukkah lamp Menorah in the style known as “Brutalism”, David Palombo, Jerusalem, Israel, circa 1960. David Palombo (1920-1966), was a sculptor and painter...

A very good quality 19th Century Bronze group of a soldier on horse back kissing his lover. Signed to the base. Batch 75. 57524. BCKZN

Another Kingdom Chess Set by Taras Yoom Limited Edition of 21 Dimensions: D 45 x W 45 x H 8 cm Materials: Metal, plastic, acrylic, wood, silicone. Chess set “Another Kingdom: Light ...

Another Kingdom Chess Set by Taras Yoom Limited Edition of 21 Dimensions: D 45 x W 45 x H 8 cm Materials: Metal, plastic, acrylic, wood, silicone. Combined technique with hack-worki...

Curiosity Box by Taras Yoom Limited Edition of 20 Dimensions: D 30 x H 30 cm Materials: Metal, plastic, acrylic. On a metal base there is a figure of on...

This unique and beautifully formed Modernist Car Sculpture in Brass on Marble Base is by the artist Aharon Bezalel, originating from Israel created in 1977. The sculpture is composed of multiple interlocking components, each serving as an individual point of intrigue while supporting one another as a finished sculpture. The body of the abstracted automobile appears skeletal and organic, curving dynamically, each component beautifully proportioned to house figures seated at various points both within interior and exterior spaces along the sculpture. Six figures total, the largest sitting up front with one leg extending, nearly scraping along the marble base as though to slow down this surreal vehicle, the other pulled closer to the body. Two additional figures sit behind, knees pulled close to chest, with three even smaller figures huddled together, concealed from the elements by the top sculptural component. The figures inside are visible from a variety of angles through cleverly planned openings that serve as the vehicle's windows. Signed on the rear of the sculpture, AB 77, edition 12/25 and resting on a rectangular white marble base. This brilliant piece will style beautifully in a wide array of interiors and settings, and is sure to draw the eye of sophisticated collectors appreciating the best of the 20th Century...

Brutalist abstract sculpture in steel and aluminum by renowned Israeli sculptor Bert Schwartz titled "Prometheus and Pandora". The sculpture was exhibited at the Brooklyn museum in N...

A pair of iron bookends crafted in brutalist style by the artist David Palombo. Uniquely designed, each end is constructed from a fence-like structure that is attached to a flat plat...

Brass Alam Persian hand Cutwork Calligraphy in the shape of a falcon, 20th century. The ornamental calligraphy arranged within a frame of a bird of prey -The Falcon. The letters are those of the Shia Muslim...

Bronze sculpture by Ben Zvi. The treatment of the figures is quite interesting bordering the lines of reality, abstraction and geometry all in one. There is a quiet dynamism to this sculpture, somehow it’s like you are witnessing a secret or intimate ceremony. Signed on base. Gedalia Ben Zvi is one of the renowned Israeli artists among the founders of the famous Artists village Ein Hod...

Sanayi313 v vase by Sanayi 313 Unique Piece Dimensions: W 15 x D 10 x H 58 cm Materials: Ash Veneered Vase, Metal Leg SANAYI313 is an Istanbul-based inter...

Small sculpture in olive wood by Rectangle Studio Dimensions: 20 x 20 x 28 cm Materials: Solid Olive wood It is collected from the roots and branches of different olive trees in...

Medium Sculpture in olive wood by Rectangle Studio Dimensions: 23 x 23 x 33 cm Materials: Solid Olive Wood It is collected from the roots and branches of different olive trees i...

Voyage Spatial by Abdo el Moudawar Materials: Black Acrylic frame structure covered with around 600 pcs of 4mm thick black acrylic Mirrored dark glass for the front. Black acrylic back cover. Concealed mirrors...

Though woven from the same design cloth, the Bubble Gum side table doesn’t demand a viewer’s attention as much as its larger companion piece. Yet this smaller version brings a pop ...

Set of 2 sculptures in olive wood by Rectangle Studio Dimensions: Large: 23 x 23 x 55 cm Small: 20 x 20 x 28 cm Materials: Solid olive wood It is collected from the roots and...

Nokta accessories II by Rectangle Studio Dimensions: W 22 x H 100 cm Materials: Natural stone, oak We have interpreted nature's imperceptible form understanding and brought it t...

Nokta accessories I by Rectangle Studio Dimensions: W 22 x H 100 cm Materials: Natural stone, walnut We have interpreted nature's imperceptible form understanding and brought i...

Nokta accessories III by Rectangle Studio Dimensions: W 22 x H 100 cm Materials: Natural stone, white paint coating on metal We have interpreted nature's imperceptible form unde...

Nokta Accessories IV by Rectangle Studio Dimensions: W 22 x H 100 cm Materials: Natural stone, black paint coating on metal We have interpreted nature's imperceptible form unde...

Essence S by Rectangle Studio Dimensions: 25x25x25 cm Materials: Solid Pine, Natural Black Wood oil Kabuk is an alternative product with sculptural appearance which can be used...

Balik sculpture by Rectangle Studio Dimensions: W 78 x D 9 x H 45 cm Pedestal W 78 x D 9 x H 21 cm Without Base Materials: Massive Linden, Natural Wood Oil, Rusted Metal Base Original sculpture work of the designer. BALIK, is a sculpture consisting of a massive linden tree and a pair of metal...

Balik sculpture by Rectangle Studio Dimensions: W 78 x D 9 x H 45 cm Pedestal W 78 x D 9 x H 21 cm Without Base Materials: Massive Linden, Natural Wood Oil, Rusted Metal Base Original sculpture work of the designer. BALIK, is a sculpture consisting of a massive linden tree and a pair of metal...

A solid stainless steel sculpture by master Israeli artist Izhak Shmueli. Stunning from any angle. Marked A/P and signed Shmueli. Believed to be a unique piece.

Unique Handmade Iron and Stone Menorah or Candelabra, made by David Palombo, Israel, circa 1960s.

Treviso sculpture by Carlo Massoud. Handmade. Dimensions: D 12 x W 15 x H 9 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social,...

Abu Dhabi sculpture by Carlo Massoud Handmade Dimensions: D 22 x H 15 cm Materials: carrara marble Carlo Massoud’s work stems from his relentless questioning of social, polit...

Florence sculpture by Carlo Massoud Handmade Dimensions: D 15 x W 12 x H 3.5 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social...

Kabul sculpture by Carlo Massoud. Handmade. Dimensions: D 7 x W 15.6 x H 12 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social,...

Berlin sculpture by Carlo Massoud Handmade Dimensions: D 9.5 x W 29.7 x H 10.5 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of soci...

Paris sculpture by Carlo Massoud Handmade Dimensions: D 7.8 x W 28.4 x H 12 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social,...

Moscow sculpture by Carlo Massoud. Handmade. Dimensions: D 10 x W 30 x H 10 cm. Materials: Carrara Marble. Carlo Massoud’s work stems from his relentless questioning of socia...

London sculpture by Carlo Massoud Handmade Dimensions: D 8 x W 28.4 x H 12 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, ...

Rome sculpture by Carlo Massoud Handmade Dimensions: D 16 x H 9 cm Materials: carrara marble Carlo Massoud’s work stems from his relentless questi...

Capri sculpture by Carlo Massoud. Handmade. Dimensions: D 30 x W 10 x H 7 cm. Materials: carrara marble. Carlo Massoud’s work stems from his relentless questioning of social,...

Brussels sculpture by Carlo Massoud Handmade Dimensions: D 18 x W 45 x H 7 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, ...

Beirut sculpture by Carlo Massoud. Handmade. Dimensions: D 8 x W 29 x H 12 cm. Materials: Carrara Marble. Carlo Massoud’s work stems from his relentless questioning of social...

Sharjah sculpture by Carlo Massoud Handmade Dimensions: D 15 x H 13.5 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, polit...

Pisa sculpture by Carlo Massoud. Handmade. Dimensions: D 10 x H 20 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, politica...

Madrid sculpture by Carlo Massoud Handmade Dimensions: D 9 x W 31 x H 12 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, po...

Babylon sculpture by Carlo Massoud. Handmade Dimensions: D 22.6 x H 14 cm Materials: Carrara Marble Carlo Massoud’s work stems from his relentless questioning of social, poli...

Tokyo sculpture by Carlo Massoud Handmade Dimensions: D 6 x W 35 x H 12 cm Materials: carrara marble Carlo Massoud’s work stems from his relentless questioning of social, pol...

M33 Vessel by Aysun Ay Dimensions: D15 X H27 Materials: Stoneware Ceramic Sculptural pieces can vary slightly as each is a unique piece of art. Improvisational design made by hand. ...

Dimanche 6 - Travertino vase by Marc Dibeh 2018 Materials: Travertino marble, gold chromed stainless steel Dimensions: W 63 x H 35 x D 25 cm Beirut based designer Marc Dibeh n...

‘Eye of Discovery’ is a unique sculpture by the Cypriot artist, Yorgos Papadopoulos, created from glass, silicone and pigments with a hematite patinated steel bezel and stand. Papadopoulos has reworked the iconic 'Evil Eye' amulet with his Stratified Jewels Collection. Taking this simple composition as a starting point, the scale is blown up and the colours completely reworked using resins and glass pigments. Using a pioneering technique he developed at the Royal College of Art. Yorgos combines pigments and shattered sheets of Industrial glass which he then re-laminates them to create architectural-scale artworks that look fragile but are extremely durable. Yorgos Papadopoulos initially studied as an interior designer at Middlesex University changing to a Ceramics Diploma at the City Lit in London. Whilst studying for his MA in ceramics at the RCA, Papadopoulos became drawn to the glass studios and after an incident where a sheet of Industrial glass was broken, he became seduced by the Material’s contradictory qualities. Excited by what is normally viewed as a bad outcome in the glass Community he spent the rest of his MA experimenting with and breaking glass. ‘Glass is my canvas, hammers are my brushes,’ says Papadopoulos. His ability to exploit and harness accident has informed his entire working practice. His architectural panels create a stunning focus in cool modern spaces, the contrast between the unpredictable movement of fracture and the clean lines of contemporary architecture excite the eye. Papadopoulos’ work is represented in private collections globally and public collections including; Eskishihir Glass Museum, Eskishihir (Turkey), Derix Glass Studio Taunusstein (Germany) and British Airways Art Collection - Heathrow T4 (UK). He is the author of the A&C Black book Glass Lamination...